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The artists whose work is featured in Fabrication each use an array of objects to assemble and fabricate imagined and unexpected scenes. Initially, the combination of elements might appear contradictory or even illogical, which challenges the viewer to make sense of the unfamiliar by placing themselves within the scenes. The results are surreal-like compositions that pull at the viewer's subconscious.
Les Allen’s series of fantastical/surreal photographs, created in his studio and printed in the traditional wet darkroom, are construct set-ups which may look digitally manipulated, but they are not. Every detail in his work is done by hand, from the construction of the scenes to the darkroom processes and archival mounting and framing.
More information about Allen and his work can be found on his website at: lesallenphotography.com
Rosalie Koldan was born in Chicago and moved to Amboy, Illinois in 2006. Primarily a self-taught artist, she strives to widen her knowledge through intense study. Her research into various cultures, techniques, and processes assures her work will continue to evolve. Political, social and environmental issues are important to her and often find their way into the artwork.
An “assemblage” is a work of art made by linking together objects not intended as art materials and establishing a symbolic meaning. When wood is worn or split, metal is rusted or bent, when fabric is soiled or torn, newspaper print is faded, they gain a character which unmarked materials lack. When an object can be identified, more specific associations can be made. Matter that surrounds us every day is made to be more visible. With every work of art comes a duality of matter and spirit, making the integrity of the arrangements thought provoking and evocative.
More information about Rosalie and her work, can be found on her website at: https://www.facebook.com/koldanart/
Medical and scientific museum work has long intersected with the artistic. There is a shared desire to explore the different perceptions of the body and what it means to be human. Similarly, the reliquary transcends simple objectification, and is a physical reminder of the miraculous.
Within Paul's work the formalities of anatomical exploration and the reliquary effigy are both used to appose themes of illness and growth, beauty and decay, dream and time. Historical references are altered to explore the diminishing physicality, anatomized nature of man as well as the more illusory. While the forms that inspire him were created to give answers, Paul finds that they are also a language to explore questions of flesh and divinity.
More information about Paul and his work can be found on his website at: www.paulnitsche.com